Pacheco is very clear: artists should erase forever from their memories what was one time a valid model of depicting Saint Anne, who was seated, with the Virgin Mary and Jesus as a child in her arms, and accompanied by three husbands, three daughters, and many grandchildren.

Depicting St. Philip as a eunuch is inadequate according to Pacheco study of the iconography of the saint. The author states that “there is no foundation for painting the holy Apostle as a eunuch, but as El Mudo [Juan Fernández de Navarrete] painted him in El Escorial, following Raphael: as a venerable old man, eighty-seven years of age”.

Molanus condemns the depiction of the story of Salome since it could provide a false argument for giving beneficiaries to children.

Molanus confirms that the decoration of churches and other sacred places is an old Biblical tradition, however profane decorations are not allowed.

Molanus condemns pagan artworks as idols that need to be abolished but also emphasises that what is allowed in writing is also allowed in art.

Edict of the Holy Office of Mexico describing some cavases that allegedly entered the kingdom and recommending that they be collected so that they do not continue to circulate. The Inquisition express the fear that the images convey Lutheran errors

In this part of the dialogue, the characters discuss the artists of the past.

Molanus criticises a particular type of statue of the Virgin Mary that could be opened up and held an image of the Trinity in this inner compartment. According to him, this creates a wrong illusion about the relationship between Virgin Mary and the Trinity.

Molanus argues that Christ did not kneel for his Father, condemning it as humiliating and a sign of indignity.

Molanus discusses the question of the placement of a saint in an artwork and the assumed correspondence to its position in heaven, but he argues that one should not worry too much about this.

Molanus nuances the usefulness to moral instruction of profane art in comparison to Christian writings and art since they offer much more examples.

Jeanne d’Obaque, from the Béarn area, disbelieving in the image of the crucifix, hit the object several times

After the participants had already limited the poetic licence, now follows the final definition of the licence (at least for poetic painting).

The iconography of Passion of Christ was an important topic for Pacheco. When the author analysed the scene of “The procession to Calvary with the cross”, he examined the scene in which Simon of Cyrene helps Jesus to carry his cross. It can be depicted in two manners according to the author: Cyrene helping Christ behind him, carrying the end of the Cross; or Jesus Christ would have passed it to the shoulder of Cyrene so that he carried it alone. Pacheco states should not be reprehended if painted in one way or the other.

Molanus argues that the depiction of Mary, Joseph, and the infant Christ during the Flight into Egypt by painters corresponds to historical customs.

Molanus argues that recent paintings of Christ on the Cross in all strength are improbable, since languid is more typical of dying.

Molanus recounts the story of the misidentification of Christ as St. Helper by the believers in Wormer, Holland, to demonstrate the usefulness of writing the saint’s name on the artwork.

The Luterans contest images of saints

Having previously criticised the graceful representation of the body of Christ in the Passion, the participants in the dialogue now offer the artist options in which he can demonstrate his skill, according to the iconography he is trying to represent.

Dealing with the story of St. Christopher, Pacheco analysed how the saint should be depicted. He doubts, according to Molanus studies, about depicting the St. Christopher giant. Pacheco states, following his literature sources, that the saint was tall and with great stature, although not as tall as he is often depicted.

Molanus criticises de common depiction of John the Evangelist as the bridegroom at the wedding feast at Cana, which is not in correspondence with the teachings of the Church.

Molanus affirms that the decoration of altars with images of saints is an ancient tradition and therefore allowed, despite recent critique on this practice.

Molanus counters the critique by protestants on the use of images in the Catholic Church, affirming these are legitimate contrary to the medals of reformers they carry themselves.

The Frenchman Joan de Momas described the saints’ lack of power.